UBC Theses and Dissertations
An approach to developing comprehensive musicianship in the intermediate grades using the voice and the ukulele Madhosingh, Donna-Faye
As the majority of experimentation in comprehensive musicianship has been done at the university and high school levels, there is a need for similar research at the elementary level. This study is designed to produce a specific programme aimed at developing comprehensive musicianship and predicting its success in music education. The work is unique in that it incorporates a vocal method devised in Hungary and adapts it not only to another country but also applies it to and combines it with an instrumental programme from Canada. This thesis is based on research by the author in comprehensive musicianship, and the Kodaly principles and concepts of music education, which are used to construct a strategy for an effective music teaching programme in the intermediate grades, utilizing the dual media of voice and ukulele. The strategy, which can be used appropriately by the music specialist, is devised from the author's research, classroom music teaching experience and studies in music' education in Hungary, Finland, the United States and Canada. The Kodaly concepts have been adapted to meet the needs and interests of intermediate pupils, their voices and ranges, and the technical requirements necessary for the ukulele. The programme seeks in-depth development of concepts through preparation, presentation and reinforcement. Conceptual understanding and intrinsic involvement leading towards aesthetic appreciation are encouraged. The concepts are presented under the headings of linear pitch, vertical pitch, form, timbre, dynamics, tempo and style. The basic aural, translatable and dextral skills are incorporated in the performing, analyzing and organizing activities. The cyclical, sequential and concept based process presented is to be continually analyzed and evaluated by the teacher in a task-oriented manner in order to assess the competencies gained by the students. A comprehensive pitch recognition programme, developed and implemented by the author, was carried out with grade six and seven students. Pre- and post-pitch recognition tests were administered to two different treatment groups, one on a traditional music programme and the other on a comprehensive musicianship programme. The results of the study showed a statistically significant difference of the comprehensive musicianship programme group over the traditional music programme group (p<.05). The instructional procedure presented begins with a vocal readiness programme in Phase I. Following is the dual approach of voice and ukulele in Phase II and III. This sequential, experiential approach is designed to promote and enhance the development of comprehensive musicianship in the intermediate grades.
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